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Game Review: Primordia

Can the maker repair what he makes?
-Roy Batty
By now, video games have reached a point where questioning religion, society, war, and other difficult and taboo subject matter have found their way into the subject matter. Dig deep into the lore of games like Portal 2, Bioshock, Limbo, El Shaddai, Deus Ex, Spec Ops: The Line, Metal Gear Solid, etc. and you will find deep and introspective ‘mature’ subject matter. I applaud games like this for giving the medium a much need push forward, and when a game comes out that tackles these type of themes I make it a point to play it. When I first caught wind of Primordia through the Steam Greenlight feature the concept of a post-apocalyptic world where man had become extinct and robots and androids lived on to create their own society where some had began to worship their makers, man, had really piqued my attention. Then quickly seeing it was being co-produced by one of my favorite adventure game publishers, Wadjet Eye (Gemini Rue, The Blackwell Series, Resonance), and newcomers Wormwood Studios, I knew I had to get my hands on this game. Did Wadjet continue their amazing track record, are Wormwood Studios a worthy new dev. team, did Primordia live up to my lofty expectation of delivering quality gameplay as well as a narrative that would tickle my brain? Read on. (note: I’m trying a different style to my game reviews and am now going to add a score at the end :gasp!:, hope you dig it)

For me, the purchase of this record came right out of left field. I was doing some Youtube surfing and stumbled upon a track of theirs off their previous effort and within 10 seconds I was completely hooked and knew I had to have a record by Blood Ceremony as soon as possible. The blend of doom-y Sabbath-ian riffs and rhythms, female vocals that are like a mix of Grace Slick (Jefferson Airplane) and Ozzy’s Black Sabbath days lulled me in, and then a heavy kick of jazz flute ala Jethro Tull immediately appeased the side of me that loves great melody and non-standard instruments in metal. Luckily that same evening I was browsing the local record store and lo and behold their latest release, Living With the Ancients, was sitting there just waiting for me to pick it up, which I did post-haste. When I got home and popped the record in I had some very high expectations based off what I heard from the couple of songs I heard on Youtube, and Living With the Ancients delivered flawlessly and lived up to that huge hype I built up in my head in such a short period of time.
In recent years retro bands have been popping up quite a bit, mainly in the thrash metal and 70′s prog department. I’ve asked myself, “with all this retro going on, why isn’t anyone going back to the era godfathers of metal, Black Sabbath, Blue Cheer, The Doors, ect.?” Well one could argue that bands like St. Vitus and some other doomy and sludgy stoner metal bands do so, but none of them, while really good in their own right, really capture the real feel that Black Sabbath and Co. had. Blame it on modern production, being a bit too heavy, or lack of being melodic or catchy, none could really pull it off. Sweden’s Ghost have come to put an end to all that and they succeed with flying colors on their debut album Opus Eponymous. And they’re pretty big fans of Satan.